A Life in the Theater

In a forum among artists, cultural workers, and LGU representatives in Cebu just recently, talk shifted to how Congress is a battle ground for legislation and budgetary support for culture and the arts. Thus, the participants were advised to lobby with senators and congressmen to ensure that the cultural sector is not left out in the national policy and budget discussions. As a reaction, the following question was posed: instead of knocking at the doors of possible patrons and advocates, would it be possible (and possibly easier) and preferable to work for the election of artists or artists' sector representatives? Would it be feasible to have a political party for artists and cultural workers and therefore work for the election of at least a party-list representative in Congress by 2010? What do you think?

I have just realized that I have not shared Noel Vera's review of "Tukso" with whoever may be viewing this site. Noel referenced it again in his 2008 yearender prompting me to look up what he had written about the film. Here are some excerpts: "I'd go so far as to say that "Tukso" is proof positive that Marasigan wasn't just coasting on the excellence of Perez's classic theatrical piece but possesses a talent for filmmaking all his own...All that said, the script is a clever enough construction ...kudos to Marasigan, then, for at least doing a decent execution, for keeping the whole complex plot coherent in his head, that he may transfer it with full clarity into ours." "But it's in the details of mood and tone and character that Marasigan excels--the way, say, Bal (Soliman Cruz), looks at his daughter Monica (Diana Malahay) in a manner that sends spiders crawling up your spine (Rashomon, meet Mike de Leon's in my opinion far...

In his annual listing of the best of Philippine theater for 2008, Gibbs Cadiz chose Tanghalang Pilipino's "Golden Child" as best full length play. "Best Play (Full-Length):“THE GOLDEN CHILD ” (David Henry Hwang; Loy Arcenas, dir.). A splendid production marked by eloquent staging and fluid direction, nearly flawless acting by a great cast, visually stunning scenery and costumes, and the sharp, epigrammatic richness of David Henry Hwang’s lines." I am happy to have been part of the production and to have programmed it as Tanghalang Pilipino's opening production for its 2008-2009. I am thankful that CCP and Nanding Josef ensured that the production would push through. I suppose I can be forgiven for feeling vindicated in my belief that it should be a Tanghalang Pilipino production and that it could do well critically and commercially. As far as the rest of Gibbs choices go, I am happy that a lot of what I considered to be outstanding productions and performanc...

Gibbs Cadiz listed down what he thought to be the 12 best theater performances of 2008. He begins his article with the following: "THIRTEEN, in fact, because one play featured a pair of performances so tightly woven into each other that to cite one actor without the other would be an injustice. In any case, whittling the choices down to 12 is quite a task, considering the good harvest this year of great theater moments. The Old Guard had a run of plum parts, while some young ’uns showed they are fierce talents to be reckoned with—beginning now. Here, in alphabetical order, are 13 names that defined first-class acting in Philippine theater in 2008. 1. Irma Adlawan (Tanghalang Pilipino’s "The Golden Child"). In a production boasting of excellent performances across the board, hers was the most fascinating--daringly contradictory and daringly played. As the tragically obstinate First Wife unable to cope with modernity in a feudal Chinese household, Adlawan was in top form,...